“I can see it. This one moment when you know you’re not a sad story. You are alive, and you stand up and see the lights on the buildings and everything that makes you wonder. And you’re listening to that song and that drive with the people you love most in this world. And in this moment I swear, we are infinite.”
Teen movies usually paint with a pretty broad brush, trying to capture the feeling of youth for as many people as possible. I look at other films like Say Anything or The Breakfast Club and I feel like most of us can relate to what was going on. The Perks of Being a Wallflower breaks this mold by showing us a very distinct subculture of intellectual misfits trying to figure out life while surviving high school. Written and directed by Stephen Chbosky (who also wrote the novel on which this is based, as well as Wonder) and starring Logan Lerman, Emma Watson, Ezra Miller, this is a sharp departure from the feel-good teen movies I grew up with in the 80s and 90s. Depression, abuse, and trauma are just a few of the subjects touched on, and these things have marked each of the main characters, although the film makes a great effort to show that hurting people still manage to live mostly normal lives. This is a different kind of teen movie that probably doesn’t have the wide appeal of some of the others, but it’s a beautiful story that hit pretty close to home for me. I absolutely loved this film.
Continue reading “The Perks of Being a Wallflower”
“You all say that it’s only one god. I say, no… there are two gods. One is the one who created us all. The other one is the one created by people like you.”
I’m not an expert in Bollywood film—in fact, before this past weekend, I had never watched a real one all the way through—but the category is so big, I know I can’t ignore it. Some guys at work recommended to me PK, the highest-grossing Bollywood film of all time. I have to say: I absolutely loved it. Directed by Rajkumar Hirani (3 Idiots, Munna Bhai M.B.B.S.) and starring Aamir Khan and Anushka Sharma, this film shows us a classic scenario: an outsider comes to a familiar setting (in this case, the city Delhi, which may be foreign to American viewers) and shows us how absurd we can be. But PK delves into some more philosophical issues and begins asking deeper questions about life and religion that I haven’t really seen in film before. This is also a fun, quirky comedy that’s entertaining throughout. If you’re wanting to get started in Bollywood film, this is a great place to start.
Continue reading “PK”
“What I really want to do with my life—what I want to do for a living—is I want to be with your daughter. I’m good at it.”
Scruffy underdog wins the heart of the most popular girl in school. That’s a story that played out a lot in the 80s and 90s, but Say Anything manages to go deeper than most other films that follow this formula. Directed by Cameron Crowe (Almost Famous, Jerry Maguire) and starring John Cusack and Ione Skye, this film is simultaneously a teen love story and a metaphor for Generation X coming of age. It was for Gen X what The Graduate was for Baby Boomers and what Lady Bird was for Millennials: a chance for them to define their relationship with the previous generation, on their terms. The 80s were a time of great financial growth and security, but also rampant corporate greed and some unscrupulous actions, and Gen X had become old enough to say something about it. But it’s also a great teen love story with emotional depth and humor. Is this the perfect teen movie? If not, it’s awfully close.
Continue reading “Say Anything”
“And for what? For a little bit of money? There’s more to life than a little money, you know.”
Picture in your head a plot where a man hires two criminals to kidnap his wife so he can keep most of the ransom money paid by her father. There’s murder and a big investigation. Unless you’ve seen Fargo, I highly doubt the picture in your mind is set in small-town Minnesota. Written and directed by Ethan and Joel Coen (True Grit, The Big Lebowski) and starring Frances McDormand, William H. Macy, Steve Buscemi, and Peter Stormare, Fargo turns the normal police-investigating-a-string-of-murders plot on its head by focusing on simple, conservative small-town folks and largely incompetent, unsympathetic characters. These aren’t people in the dark underbelly of some large city, these are people who get excited when new stamp designs come out. Under the hood, this is a black comedy as well as a crime drama, and the writing is top-notch. If you’re looking for something different and clever without being over-the-top, this might be it.
Continue reading “Fargo”
“People are being duplicated. And once it happens to you, you’re part of this… thing. It almost happened to me!”
(Yes, I’m reviewing the 1978 remake, not the 1956 original. Don’t judge me!)
Alien invasion movies were a pretty big thing in classic film. They asked lots of questions: What if they’re good? What if they’re bad? What if they think we’re bad and come to judge us? Invasion of the Body Snatchers, directed by Philip Kaufman (mostly known for writing the Indiana Jones movies) and starring Donald Sutherland and Brooke Adams, puts a bit of a different spin on it: what if they’re neither good nor evil, but so different that we can’t coexist? But this is not a boring morality study—this is a tense thriller! It doesn’t take the time to ask and answer a lot of deep questions, as many sci-fi movies do, but it moves quickly and is definitely not boring. If you’re in the mood for a tense and somewhat scary look at an alien invasion, this might be just what you’re looking for.
Continue reading “Invasion of the Body Snatchers”
“America. They want someone to love, but they want someone to hate. I mean, come on! What kind of frigging person bashes in their friend’s knee? Who would do that to a friend?”
Biopic films have, to me, always seemed like pieces of a far-off history, far removed from my actual life. It’s very rare that one hits as close to home as I, Tonya did. Directed by Craig Gillespie (Lars and the Real Girl, The Finest Hours) and starring Margot Robbie, Sebastian Stan, and Allison Janney, this tells the real-life story of Tonya Harding, the infamous figure skater whose scandal rocked the world in the 90s. It’s a story I got a periphery glance at, through media headlines and rumors passed around school, but I never knew Tonya—only the scandal. This film lets you know Tonya, and it does an amazing job of bringing her to life in a way that’s not only sympathetic but also tragic. In-between tragic events are darkly funny happenings and self-aware humor that keep this from getting too depressing. This is a great story that adds some depth to events that I remember from my childhood, and it’s definitely one of the best biopics I’ve ever seen.
Continue reading “I, Tonya”
“‘I would never want to belong to any club that would have someone like me for a member.’ That’s the key joke of my adult life, in terms of my relationships with women.”
Clever movies are a bit of a dying art. Nowadays, studios keep things pretty simple so nothing flies over the heads of their audience. Annie Hall, written and directed by Woody Allen (Crimes and Misdemeanors, Manhattan) and starring Woody Allen and Diane Keaton, is a film that’s clever to a fault. Some have said this is the greatest romantic comedy of all time, but I disagree—it’s not perfect, but that’s kind of the point Allen is trying to make. Much like the lead character Alvy, the film is smart and funny, but can be a bit condescending and has trouble connecting with people. This film was somewhat autobiographical for Allen, but he doesn’t romanticize his quirks and neuroses—he shows how they can be endearing, but also how they can be destructive. Overall, the film is intelligent, witty, and surprisingly deep in some spots, filling an odd void in the cinema world: admitting that it’s possible to be too smart for your own good.
Continue reading “Annie Hall”
“Here are just a few of the key ingredients: dynamite, pole vaulting, laughing gas, choppers—can you see how incredible this is going to be?—hang gliding, come on!”
In 1996, before Wes Anderson was really making Wes Anderson movies, he made his debut with Bottle Rocket. He involved some of his friends, including Luke and Owen Wilson, neither of whom had acted before. This film is far from perfect and is definitely not Anderson’s best, but it was enough to crown him the new king of indie filmmaking and put Luke and Owen Wilson on the map. Woven into the story, you’ll see the themes that are so prominent in Anderson’s later works: subtle ennui, loneliness, and chronic abnormality, all glazed over with quirky humor and a rebellious streak. For his first feature film, this is actually a very impressive feat. The writing is clever, the story is memorable, and the soundtrack is killer. Overall, this is a pretty impressive indie comedy that’s a great glimpse into the formative years of Wes Anderson’s career in filmmaking.
Continue reading “Bottle Rocket”
“After that, my guess is that you will never hear from him again. The greatest trick the devil ever pulled was convincing the world he did not exist. And like that… he is gone.”
A good mystery will leave the viewer clues throughout that point the ultimate revelation, and The Usual Suspects does exactly that. Directed by Bryan Singer (X-Men, Superman Returns) and starring Kevin Spacey, Gabriel Byrne, and Chazz Palminteri, this is an extremely intricate film that rewards multiple viewings and in-depth analysis. Some have criticized it as gimmicky, but I wholeheartedly disagree. The performances are excellent, the details that hint at the ending are subtle but very intentional, and the script is brilliant. This is an independent film, and that’s a great thing—Hollywood studios would have dumbed this down to make it much more obvious for average viewers. I’m glad they didn’t—as it is, this film is a masterpiece.
Continue reading “The Usual Suspects”
When I first heard that Charlie Chaplin made a movie that poked fun at Adolf Hitler, I didn’t quite believe it. Chaplin started work on The Great Dictator well before World War II broke out, and the film was released before the United States entered the war, so, rather unintentionally, this became one of the first American propaganda films. Chaplin later said that had he known what was going on in Germany, he never would have made the film. But the film was made, and it is quite funny even today. Chaplin held onto his silent film style for a long time after sound became the norm, and this is his first foray into the world of recorded dialogue. But this is a Chaplin film, so wacky physical humor still takes center stage. This film is a bit of a relic, but it is interesting to see something I learned about mostly in history books lampooned in such a spectacular way, and also to learn more about the pop culture that contributed to America joining the war. And, like I said, it is surprisingly funny even today.
Continue reading “The Great Dictator”